Psychedelic / Progressive

In March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour. One of these included a stint at the "End Of Cole Avenue" club in Dallas - one of the Velvets' few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their "1969: Velvet Underground Live" album, but the sound quality was not great due to the use of 3rd or 4th generation tapes. However, the first generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one

April 30, 1967 recording of a performance at The Gymnasium (424 E. 71st St) in New York City. So its Velvet's White Light/White Heat period in full gloom. In fact, it contains the first public performance of 'Sister Ray' (it clocks 19:10"! ) and the previously unreleased songs 'I'm Not a Young Man Anymore' and the R&B number Booker T. Mastered form recently sourced tapes not comparable with any previous versions

The 3rd NYE at Winterland (2nd that was taped) is known for having the first Big River and Chinatown Shuffle, as well as the last Dancin' (until '76). Same Thing hadn't been played since '67 and this was the last Pigpen version, Bobby taking it up again 20 years later. This is also the first show with Donna, though she's not a big presence. She would officially join at the upcoming Academy shows.

Tracklist:
 
Dancing In The Streets
Loser China Cat Sunflower
I Know You Rider
Brown-Eyed Woman
Sugar Magnolia
Sunshine Daydream
Not Fade Away
Going Down
The Road Feeling Bad 

Lou Reed’s second solo album Transformer is an album that everyone should own and without a doubt – Essential. Considered an influential landmark of the glam rock genre and anchored by Reed’s most successful single, “Walk on the Wild Side” along with “Perfect Day” and “Satellite of Love”. Produced by David Bowie and Mick Ronson, the album was released in November 1972 by RCA Records.

For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers – a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi. With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended. With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses. This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster.

Musically, first of all, 1991's second album, "loveless," was more advanced and unexpected than anything else released at the time. Kevin Shields and band thoroughly pursued a sound based on pure sensuality, resulting in a work that overwhelmed the listener's senses. 1990's representative work was hailed as a perfect masterpiece that pushed the possibilities of studio recording to the limit, and has been featured on The Beach Boys' "Pet Sounds" and It has been hailed as a milestone on par with The Beach Boys' "Pet Sounds," Miles Davis' "In A Silent Way," and Stevie Wonder's "Innervisions.

Japanese obi included.
Mastered from 1/2" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g vinyl weight
Standard gatefold outer sleeve
Six 300 x 300 mm art prints enclosed
Includes DL code (24-bit | 16-bit | mp3)

 

From the academy of deep soul and no ego, Reverend Baron delivers visions of liquor store East LA, the off-the-freeway dry mirage of slow motion graffiti and lonely seagulls. A nylon stringed zen fog with themes of woozy love, layered dimensions of nostalgia and glazed neighborhood tales that roll in with a natural ease. After notching a permanent status in the skateboarding orbit as Danny Garcia, he transferred his effortless style, dedication and authenticity into music. Practicing a philosophy of demystifying the process and doing it yourself, he has become a proficient multi-instrumentalist, engineer, and producer of his own and other artist's music. All streams of curiosity converge into the river. An enigma, Reverend Baron emerges from the proverbial gray overpass with no sense of urgency. He takes a sharp gaze at his surroundings and processes them through a factory of depth and gentle swag to yield a sound that sits as easy as fallen molasses on the bodega shelf. The songs are an unassuming invitation to either walk through the doorway or lean on the wall outside, either way something beautiful and rare.

Ali Farka Touré is well known as one of the most influential and talented guitarists that Africa has ever produced. His legacy and impact are hard to overstate. Ali’s sound merged his much-loved traditional Malian musical styles with distinct elements of the blues, singing in the local languages of Fulfulde, Tamasheq, Songhay and Bambara. The result was the creation of a groundbreaking new genre, now well known as the ‘desert blues’, earning him three Grammy awards, widespread reverence and the nickname of the ‘African John Lee Hooker’. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”

With their debut album, "Isn't Anything," released in 1988, the band revolutionized alternative music and introduced a new approach to guitar music in the years that followed. Their sound became the template for numerous sub-genres and presented a groundbreaking approach to guitar music and studio production. The genderless vocals of Kevin Shields and Bilinda Butcher, who sing in the same vocal range and blend perfectly together, serve as another melodic layer that complements the dizzying intensity of Shields' guitar. The album is characterized by the eerie sense of space present in many of the recorded tracks, which range from intensely propulsive to quiet and unsettling.

Japanese obi included.
Mastered from original 1/4" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g vinyl weight
Standard gatefold outer sleeve
Four 300 x 300 mm art prints enclosed
Includes DL code (24-bit | 16-bit | mp3)

2022年度リプレス。アメリカのインディ・ロック・バンド、Bedheadが1998年2月10日に〈Trance Syndicate Records〉に残した3枚目のスタジオ・アルバムが〈Numero〉からアナログ・リイシュー。Steve Albiniがエンジニアを務めた本バンド唯一のレコードであり、前作よりもアップテンポで激しく歪んだサウンドを披露したスロウコア/オルタナティヴ・ロックの傑作！

The Smile have today confirmed details of a limited edition, vinyl only live EP, titled Europe: Live Recordings 2022, out 10th March via XL Recordings. True to its title, the EP is comprised of live recordings of fan favourites from The Smile’s widely acclaimed debut album, A Light For Attracting Attention, as well as the band’s rendition of Thom’s 2009 solo track FeelingPulledApartByHorses. Europe: Live Recordings 2022 was recorded in various cities over the course of The Smile's first ever tour last summer.

Full tracklist here:
A1. The Opposite
A2. Thin Thing
A3. FeelingPulledApartByHorses
B1. The Same
B2. Waving A White Flag
B3. Free In The Knowledge

The 5th album released in 2001 by the five-member UK rock band Radiohead.

This work, which was recorded at the same time as the previous work "KID A", is a beautiful work that swallows everything from noise to blues. Includes "Pyramid Song", "I Might Be Long", "Knives Out" and others.

The long-awaited debut album of Daniel Villarreal, a drummer and DJ from Panama who lives in Chicago and is known to many for his work with Dos Santos, Wild Belle, The Los Sundowns and more. It's a debut worldwide, but it's been widely known in Chicago's music scene for a long time, and almost every night on the bustling 18th Avenue of his hometown Pilsen, at least one place has been loved enough to see his DJ. person. This work collaborates with Chicago, including Bardo Martinez (Chicano Batman), Jeff Parker (Tortoise), Marta Sofia Honer (Adrian Younge), Anna Butterss (Jenny Lewis), Aquiles Navarro (Irreversible Entanglements). A masterpiece of instrumental funk that has been recorded in several places in Los Angeles and is based on jazz but psychedelicly fused with Latin rhythms! Led by the mysterious gong of the opening song "Bella Vista", the synth sound of William Onyeabor style is intense "Uncanny" to the labyrinth where you can't get out of it. Various styles of works such as "In / On" and "Patria" dedicated to the organist Avelino Munoz in his native Panama are a masterpiece! Recommended for fans such as and !

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover’s sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. Our definitive 2LP reissue of the original five-song mini-LP adds the group’s first 12” (a cover of Jobim’s “Girl From Ipanema,” naturally), the Seaside Weekend 12”, compilation tracks, and two previously unissued cuts, recasting this short-lived combo’s forward-thinking milemarker as a modern-day masterstroke.

Simultaneous purchase set of three original Les Rallizes Dénudés albums LPs with bonus 12-inch, available in limited quantities!

Special 12-inch for purchasing all three albums at the same time. 
The "Romance of Black Sorrow otherwise Fallin' Love With," which was cut from the analog LP of "MIZUTANI / Les Rallizes Dénudés" due to the recording time, and two bonus tracks from the reissue CD of "MIZUTANI / Les Rallizes Dénudés" will be included.
Two bonus tracks from the reissue CD of "'67-'69 STUDIO et LIVE" will be included.

FACE A 
1. 黒い悲しみのロマンセ otherwise Fallin’ Love With 
　Romance of the Black Pain otherwise Fallin’ Love With 

FACE AA 
1. Résonance 
2. Tobacco Road

An omnibus album "OZ DAYS LIVE" recorded in '73 at the live house "OZ" in Kichijoji, Tokyo, will be released as a 2LP analog set, plus previously unreleased material that was not recorded at the time. Officially approved by , which holds the legal rights to Les Rallizes Dénudés's sound sources, and remastered from the original analog tapes by Makoto Kubota. Includes booklet with liner notes by Minoru Tezuka (manager of OZ/ later manager of Rallizes's) and rare photos from that time. Comes with craft board sleeve and obi.

3LP edition. The long-awaited reissue of "'77 LIVE", recorded live in Tachikawa, Tokyo on March 12, 1977 by Les Rallizes Dénudés, after remastering by Makoto Kubota! The contents of the album are an overwhelming flood of sound and transformative improvisation, allowing the audience to relive the miraculous one-and-a-half hour live performance.

The omnibus album "OZ DAYS LIVE" recorded at the live house "OZ" in Kichijoji, Tokyo, in 1973, is now available on 3 CDs, including a bonus track from the same session by The Naked Larries, which was not recorded at the time, and over 40 minutes of previously unreleased material by Acid Seven, and an oral history book of several hours with people from "OZ". The special edition release includes a 100-page hardback book with an oral history comprising several hours of interviews with people involved in 'OZ'. Remastered from the original analogue tapes by Makoto Kubota.

AKARMA

Grateful Dead played an extended set on Saturday night at Woodstock. Introduced by their friend Ken Babbs, the band took off with “Saint Stephen,” a song from their classic Aoxomoxoa album. A major shock to rhythm guitarist Bob Weir (the result of touching his ungrounded microphone and guitar at the same time) blew the power out momentarily, ensuring that the second verse of the song was not captured by either the film or audio recording. Perhaps it was this shock that forced the band to abandon the song halfway through, ducking into a cover of Merle Haggard’s “Mama Tried” instead.

White Heaven’s second album, Strange Bedfellow, is one of the great unsung albums of the 90’s Japanese underground. Released two years after their striking debut, Out, the album reveals the group shifting to a more dynamic and finely honed sound. You Ishihara’s songwriting & arrangements take center stage, leading the group to transmute classic west coast psychedelia and garage into a thrillingly direct collection of songs that span from fuzz drenched, driving rockers to smoldering numbers that fade into the night... Only ever available in an edition of 700 LP’s released in 1993 by PSF Japan, Black Editions is pleased to present Strange Bedfellow, newly remastered in this deluxe edition.

Kinzua debut a ritualistic, zonked outernational ambience, downbeat and cyberpunk bliss on Vladimir Ivkovic’s Offen Music - RIYL Morphosis, To Rococo Rot, CS + Kreme, Black Zone Myth Chant. Formed by Lucas Brell in Berlin and Leipzig’s Marvin Unde (Qnete), Kinzua emerge from the German club undergrowth with hypnotic slants of brownfield-pastoral electronica and meter-messing motorik pulses on their first release ‘None of the Above’. Smeared over a double LP, the hour-long album pitchbends with a properly lysergic quality as it executes its functions between the folksy crackle of ‘First Chapter’ and the grungy, viscous, post-D&B rolige of ‘Breath’. Rhythmic prompts ranging from klassic kosmiche to ‘90s UK armchair music and contemporary dembow dancehall underline Kinzua’s lines of melodic thought and dream-textured electronics in swirling permutations that feel in-the-moment but ever rolling towards an uncertain horizon. Kinzua act as spirit guides for the mind expanding new generation of trippers, with effortlessly oily grooves and keen attention to detail that suspend a sense of disbelief and mesmerise to their method. Seductive oddities such as ‘Domestic Affair’ follow to Detlef Weinrich-esque electro on ‘Elevator Moving Flor’ and ‘Heidi Peter’ echoes original Harmonia from a bleaker perspective, while supremely groggy drone in ‘Surface’ gives way to arid dancehall abstraction on ‘Sahara’, and ‘Gobi’ slopes off on a crooked outernational tip to a highlight of Laila Sakini-like scenes in ‘The Dancing Smoke’ starring vox by GiGi FM reciting from Baudelaire’s ‘Les Fleurs de Mal’.

Originally released in 1972 in very limited numbers. A trip of an album rich in percussive energy and African chant - made in Brazil! The sounds of continents colliding in a young, funky & soul fuelled 70s ....this is one is on full burn from start to finish ! This the only album by Massáhi Tribe and it became notorious for it’s unique sound and the almost complete lack of information about its creators. Check!

the Label say:

'This is a sound made in Brazil. All the members are Brazilians.
But the goal is to show the young african music, with all his distinctions that features the origin of the black continent’s music.

In this record we launch several curious things. Starting from a rhythmic draw, based on the camel steps that match the division 4/4, on the same line of YÁ YÁ YÁ and SOUL MUSIC, which was given the name of OGA, this, because in Lagos, Nigeria’s capital, is an intimate treatment among friends. There, a man feels good when compared to a OGA (camel).
Purposely and proudly we launch this new and different LP, not only dedicated to all record collectors in the world but also to all party lovers, nights in club, and even for who’s loving, because on both sides, there aren't intervals. It’s a contagious and crazy rhythm."

This is how, in 1971, Embaixador and Maestro João Negrão described the record on his back cover. These words did not aged a bit.

We are very happy and proud to announce, 44 years later, the first 100% official reissue of this genuine work that became legendary and considered as the "Holy Grail" of Brazilian music among collectors around the world.'

The bastard love child of Elvis and Lux Interior, Israeli guitarist Charlie Megira brewed a heady amalgam of ’50s trash rock, surf-y tremolo, and reverb-drenched goth during his all-too-brief 44 trips around the sun. He recorded seven albums worth of material in 15 years, primarily issued on CD-R, most of which is now unreadable or in a landfill. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones. We've chosen our 2 favorite cuts off his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic. Hear as Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo-fi masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive.